A pleasant surprise was the list of suppliers on the front page next to the credit of publishing. It provides resources for skins, milling, gluing, finishing, paint and beads – all essential for many types of drum repairs and not easy to find – thank you Dennis.

The book begins with a brief introduction to rhythm and discusses the many different tools used to get there. In the first chapter of battery categories based on body shape is clearly defined and explained, and source material from which the drums speak.

Acoustic Sound bases and drum are discussed in the second chapter to explain why the drums sound like they do. These studies are any drummer should know – even if they do not repair or build their own instruments.

In the third chapter rawhides and their various properties is subject. The removal of hair, skin, and the preservation of raw hides described provide sufficient information for processing hides for drum making. Like most policymakers know that it is very profitable to treat their own skins.

Confirmation of the head is a vast subject as so many different ways to make a drum head. Bonding, gluing, stapling, for lacing, screws or Struts, the fourth chapter covers all the basic forms of attachment. I was a little disappointed not to find the secret of rags and put a drum, as shown in the upper right of pg. 33. I repaired kendang mridangam and that method was the original header, but I could not replicate that, no matter how I tried. Perhaps a sequel to this book could go into detail as this type of work required, including of course the infinite variables of drums and their components is an almost insurmountable task to try to cover in one book. A big Bravo to the author to the idea of the model on pg. 41, is ideal for the distance between nodes on different sizes of circles in the use of Mali weaving method for making a drum. I might add that it would have been preferable to report at this stage, rather than on pg.32, twitching method further development of tissue when more tension is vital, as an African djembe.

The second half of the book gives detailed examples on how different drum based on a thorough knowledge of drum makers who generously allowed the author to document their procedures. Once again the picture quality is excellent and lends to a simple understanding of some of the secrets of the drum and the process of decision maker rose drum machine drum. Drums appear in the process of creating this section to include, frame drums – primitive, Ireland, Middle East, America and North America. Battery removed – COUMPOUND cylindrical, tapered and conical (djembe, Ashiko). Sculpted – West Africa Atumpan. Clay – cup style doumbek drum.

The book ends with profiles of talented artisans featured the drum projects are part of the book and an index of more rapid referral for Welcome lot easier.

All in all, an excellent book for the makers of the drum, drummer, or someone very mild curiosity in this diverse region, instruments variables called the battery. Very detailed, accurate historical facts, vivid images, all contribute to a large volume for a permanent residence permit on my shelf for future reference and for many repairs to come. As an instructor and clinician, I could expand my knowledge to others thank you to Dennis Waring. I have a little more confidence going to buy an instrument if I know much more about the physics of how they are made, allowing me a better informed decision. On this basis, I think this book would complement (and life) on top of a coffee table.